My work lives in the space between observation and imagination. I use egg tempera to build portraits that feel both personal and archetypal — like people you’ve seen before but can’t quite place. I’m drawn to stillness, to expression that lingers rather than declares. In each painting, I’m asking how much can be said with very little. Often, the answer is found in the eyes, or the space between them.
Second Hand Light is a visual dialogue between human creation and machine interpretation — a series of paired works that trace the fragile space between presence and imitation. Each piece begins with a hand-drawn or painted study: rough, searching, alive with the rhythm of mark-making. These human originals are then reimagined through AI, which translates gesture into pattern, texture into algorithm, emotion into understanding. The project examines how technology mirrors and mutates the language of touch. It’s not a contest of skill, but a meditation on translation — how light, form, and feeling shift when filtered through two ways of seeing. In the human works, we sense the warmth of imperfection, the intimacy of process. In the AI versions, we encounter reflection without friction — art distilled into calm precision. Together, these pairs create a conversation about authorship, empathy, and the body’s presence in image-making. Second Hand Light asks what remains — and what is los...

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